Family Games 100: Essay List Announced

Hey folks, FAMILY GAMES: THE 100 BEST just left the printer and I’m pleased to share with you the full list of authors, games and essays. The game that I talked about was GLOOM, which is one of my favorite card games. How many of these games have you played or can recognize?

    Foreword by Mike Gray
    Introduction by James Lowder
    Afterword by Wil Wheaton
    Appendix A: Games and Education by David Millians
    Appendix B: Family Games in Hobby Games: The 100 Best by James Lowder

List of Family Games and Essayists

    Carrie Bebris on 10 Days in the USA
    Steven E. Schend on 1960: The Making of the President
    Dominic Crapuchettes on Apples to Apples
    Mike Breault on The Awful Green Things from Outer Space
    Jeff Tidball on Balderdash
    Keith Baker on Bang!
    Bruce Harlick on Battleship
    James Wallis on Bausack
    Paul Jaquays on Black Box
    Lewis Pulsipher on Blokus
    Teeuwynn Woodruff on Boggle
    Fred Hicks on Buffy the Vampire Slayer
    James Ernest on Candy Land
    Ian Livingstone on Can’t Stop
    Bruce Whitehill on Careers
    Jared Sorensen on Cat
    Wolfgang Baur on Cathedral
    John Scott Tynes on Clue
    Alessio Cavatore on Condottiere
    Elaine Cunningham on Connect Four
    Will Hindmarch on Cranium
    Erik Mona on Crossbows and Catapults
    William W. Connors on Dark Tower
    John D. Rateliff on Dogfight
    Robert J. Schwalb on Dungeon!
    jim pinto on Dvonn
    Gav Thorpe on Easter Island
    Jeff Grubb on Eurorails
    Kenneth Hite on Faery’s Tale Deluxe
    Richard Dansky on Family Business
    Warren Spector on Focus
    Corey Konieczka on For Sale
    James M. Ward on Fortress America
    Stan! on Frank’s Zoo
    Bruce C. Shelley on The Game of Life
    Phil Orbanes on A Gamut of Games
    Monica Valentinelli on Gloom
    Matt Leacock on Go Away Monster!
    Steve Jackson on The Great Dalmuti
    David “Zeb” Cook on Guillotine
    Jason Matthews on Gulo Gulo
    Joshua Howard on Halli Galli
    Bruce Nesmith on Hare & Tortoise
    Mike Pondsmith on HeroClix
    Anthony J. Gallela on HeroQuest
    Chris Pramas on HeroScape
    Ed Greenwood on Hey! That’s My Fish!
    Colin McComb on Hive
    Alan R. Moon on Hoity Toity
    Jon Leitheusser on Ingenious
    Uli Blennemann on Java
    Luke Crane on Jungle Speed
    Monte Cook on Kill Doctor Lucky
    Emiliano Sciarra on Knightmare Chess
    Todd A. Breitenstein on Liar’s Dice
    Marc Gascoigne on Loopin’ Louie
    Andrew Parks on Lord of the Rings: The Confrontation
    Seth Johnson on Lost Cities
    John Yianni on Magi-Nation
    Bill Bodden on Master Labyrinth
    Andrew Greenberg on Mastermind
    Ken Levine on Memoir ’44
    Scott Haring on Mille Bornes
    Steve Jackson on Monopoly
    Sheri Graner Ray on Mouse Trap
    Kevin G. Nunn on Mystery Rummy: Murders in the Rue Morgue
    Dale Donovan on The Omega Virus
    Darren Watts on Othello
    Charles Ryan on Pandemic
    Michelle Lyons on Pente
    Thomas M. Reid on Pictionary
    Nicole Lindroos on Pieces of Eight
    John Wick on Pit
    Matt Forbeck on Pokémon
    Robin D. Laws on Prince Valiant
    Stephen Glenn on Qwirkle
    Sébastien Pauchon on Ricochet Robots
    Peter Olotka on Risk
    Richard Breese on Rummikub
    Jesse Scoble on Scotland Yard
    Richard Garfield on Scrabble
    Mike Selinker on Set
    Rob Heinsoo on Small World
    Hal Mangold on Sorry!
    Jess Lebow on Stratego
    Eric Goldberg on Strat-O-Matic Baseball
    Andrea Angiolino on Survive!
    Karl Deckard on Thebes
    Dan Tibbles on Time’s Up!
    Tom Wham on Trade Winds
    Susan McKinley Ross on TransAmerica
    Ray Winninger on Trivial Pursuit
    Leo Colovini on Twixt
    Matthew Kirby on Uno
    David Parlett on Upwords
    Lester Smith on Werewolf
    John Kovalic on Wits & Wagers
    Philip Reed on Yahtzee
    Kevin Wilson on Zendo
    Jess Hartley on Zooloretto

How Genre Affects Game Design

Like pulp? How about horror? Superheroes? Awesome. I bet that many of you who are reading my blog have had great ideas for stories or games based on a popular genre. With fiction, you probably already write using techniques to affect the pacing, mood and feel of your story to induce that air of mystery or feeling of awe. Shorter dialogue, use of fragments and punctuation can enhance the reader’s expectations for a story. Couple that with stunning visual descriptions and you have the makings of a spectacularly paced genre fiction story.

But what about games?

Writing games based on a particular genre is a bit trickier because the people playing the game have the ability to create their own mood based on the product you are creating. Unlike fiction where the environment is more controlled, a game’s environment can’t be controlled. Or can it?
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The Difference between Game Design and Writing Games is…

Okay, so now that we’ve spent a whole week talking about writing game-related fiction, I’d like to round out this week o’ gaming by talking about the fundamental differences between game design and writing games. This is an often hotly-contested topic in many gaming companies, but really comes down to a very, simply idea and that is: writing is different from designing. The skills may be complementary, but often the two are not the same thing. Here’s why.

Game Design

When someone designs a game, they are planning out a mechanical system of rules that addresses the player, the environment the game takes place in, and the way that the player interacts with other players and that environment. Take UNO for example:

    Player The holder of a set of cards
    Environment The way the deck is laid out or: discard pile vs “play” pile
    Player Interaction Player plays off of the cards in the environment and interacts with other players through a turn.

Okay, so that’s pretty easy to see where the design comes in because there’s this concept of adding and factoring in mathematical chance and…but wait? Does that mean that every game is designed based on math? In my opinion, great game design is based on a combination of math and logic (as in propositional logic) to keep players focused on that game. Let’s take a look at another less obvious game called the Kingdom of Loathing.

    Player Paris the Fat, a pastamancer (Yes, that was actually my character name.)
    Environment Kingdom of Loathing
    Player Interaction Play is turn-based, where you interact with the environment and the environment mechanically responds based on different actions you take. Player may interact with other players by joining a “group” which offers a *stat benefit.*

Now, with games like these you can see where the design takes a different turn. The focus is on how the player interacts with the environment around her in order to follow the “rules.” This is where it gets confusing. In order to have rules for setting-rich environments, you have to describe those rules. Enter the writing aspect.

Writing Games

Sometimes, people who write games and people who design games are the same people, er…person. (You get what I mean.) When someone writes a game, they are either describing the environment for the player to play in, the type of character the player might play, or the rules. If the rules are established (like they are at larger companies) then it’s the writer’s job to translate those rules into a marketable, attractive setting. The game designer knows what kind of game they want because when done right, the rules are integral to the setting. The Star Wars: Knights of the Old Republic classic is a good example of this because within that game, a writer had to come up with dialog that would influence his (or her) Force rating. The way that a player chose to respond affected his character’s mechanics in game either for better or for worse. Here it takes a great amount of skill to come up with dialog that reflects subtleties of meaning — either positive, neutral, or negative — and not every game designer has that skill. Unfortunately, not every writer can design games either. Within the industry, rules can often get outdated as designers often try to remain current with different styles of play.

Besides dialog in video games, tabletop games often run the gamut of writing skills requiring technical, fiction, and nonfiction styles in order to put all the pieces together. The skills that game “writers” require are often different, because if a game designer is building the foundation or the structure of the game, the writing fills in the bricks, furniture, windows, and other elements necessary to what the game is supposed to be about. Game writers will often familiarize themselves with a game’s rules and setting in order to successfully contribute to a project; game designers will often do the same thing, but from their perspective. Sometimes, a game writer will be able to flesh out the setting like I typically do; other times, creative teams that include artists and other folk will map a game’s scenes out through storyboards while the game is being developed.

Hope that helps clear up the difference between the two. Keep in mind that the roles people have within the gaming industry varies depending upon the size of the company. This is true for any business, but especially true in this energetic, creative field. Happy gaming!

Here’s What I’m Writing and Working On, How About You?

There are some exciting things in the pipe for me; I can’t say anything about my day job, but I’d like to share with you some of the creative and non-creative projects I’m working on to enhance my knowledge and continue writing.
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Game Design for Girls: Scholarship and Day Camp

PacMan Girl Ghost | OpenSource ArtI belong to several writing and networking groups all around the web, and sometimes there are events posted that are just “that cool.” This summer event is so in touch and up-to-date with our current culture, it’s definitely worth checking out and is perfect for young women interested in this multi-million dollar industry.

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